Tag Archives: CAA Conference

William Coleman’s Quick Thoughts on Representing Gothic

William L. Coleman, Ph.D. Candidate at UC Berkeley prepares for his session presentation at the Hilton New York. February 11, 2011. (Image Credit: Tempestt Hazel)

William L. Coleman, Ph.D. Candidate in History of Art at University of California, Berkeley:

I got a lot out of the session I attended yesterday morning called Representing Gothic, convened by Stephen Murray of Columbia [University] and [Andrew J. Tallon], an associate from Vassar [College].  There were also several perspectives on architectural, historical and traditional inquiry on the forms of Gothic architecture and perceptions of it later.

That was the session I got the most out of.  There were some really interesting perspectives from Matilde Mateo of Syracuse University and Matthew Reeve of Queen’s University in Ontario.  Really interesting, out-of-the-box thinking about the afterlives of this style, what it has meant and what it continues to mean.

Attend William Coleman’s session, Music and Other Paradigms for Nineteenth-Century Art, Part II, where he will be presenting Sibelius, Gallen-Kallela, and the Musical Landscape.  Saturday, February 12, 2011, 2:30-5pm, Madison Suite, 2nd Floor, Hilton New York.

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Sabina Ott Talks Media Lounge & “Band of Outsiders”

Still from Jean Luc Godard's Band of Outsiders. Included in publication for Media Lounge program. Februray 10, 2011. (Image Courtesy of Sabina Ott)

Previously I posted about the Media Lounge located at the Hilton on the Concourse Level. As part of an initiative to have more artist participation in the CAA Conference, Sabina Ott and Cindy Smith of the Services to Artists Committee worked back and forth between Chicago, New York and several other parts of the country to bring together nine artists and curators and create a video display to be seen by CAA attendees as well as the entire city of New York. To get more information about the project I sat down with one of the organizers, artist and educator Sabina Ott.

Tempestt Hazel: What is the Media Lounge?

Sabina Ott: The Media Lounge is a project put on by the Service to Artists Committee of the CAA. That was formed because the CAA felt that there wasn’t enough events and services for visual artists. It’s a group of people that aren’t necessarily on the board–there are a couple of board members, but it’s people from all over who have volunteered to be on the committee.

The Media Lounge at the Concourse Level of the Hilton. February 11, 2011. (Image Credit: Tempestt Hazel)

I volunteered to do the Media Lounge this year with Cindy Smith, and excellent New York based installation and video artist. And we decided to try and cover as much territory as possible and really expanded the program. We invited nine curators–and I say curators broadly. Some are curators, some are artists or designers who we asked to create one-hour video programs to their own discretion. They came up with incredible programs. Really beautifully designed, conceptually rigorous programs of video art.

TH: Where else will these videos be screened?

SO: We were offered the opportunity to screen our work at the Big Screen Project here in New York. It is an outdoor screen project where you basically sit at a bar across the street with headphones and watch the big screen video. You can also see it from the street but for sound you must be outside. The Big Screen Project edited the nine hours of work into a two hour program, taking at least one piece from each curator’s vision.

The Center For Book Arts is having a reception on Friday from 5-8pm for [Band of Outsiders]. Everyone should come. Alex Compos, the director of the Center for Book Arts also curated a program [for Band of Outsiders] and will be running the Media Lounge program for the entire month. So, people will be able to see all nine hours if they like.

TH: Where does the name of the program come from?

SO: This is called Band of Outsiders, which is based on a film by [Jean Luc] Godard. We felt that it really encapsulated the spirit of what we were really trying to accomplish and inviting people who are somewhat on the periphery of art production in some way or another.

It’s a brilliant program and brilliant curators! What I’m also very excited about is one of the curators I know, Debra Riley Parr, has curated a program based on design, which isn’t usually represented in these programs.

"Band of Outsiders", a book produced for the exhibition. February 10, 2011. (Image Credit: Tempestt Hazel)

Invited Curators:

Boshko Boskovic, Program Director at Residency Unlimited
Alexander Campos, Executive Director of the Center for Book Arts
David Familian, Artistic Director at Beall Center for Art and Technology
Claudia Hart, Associate Professor in the Department of Film, Video, New Media, and Animation at the School of the Art Institute of Chicago
Martha Kirszenbaum, Research Assistant at the New Museum
Karen Moss, Professor of Art History, Critical Theory Otis College of Art and Design and the University of Southern California’s Roski School of Fine Arts.
Aily Nash, Film Curator, Filmmaker and Writer
Debra Riley Parr, Associate Dean and Associate Professor of Art History at Columbia College Chicago
Catherine Sullivan, professor of art at the University of Chicago

Band of Outsiders will be on view at the Media Lounge in the CAA Conference now through Saturday, February 12th. The publication is available in limited numbers at the Media Lounge.  If you want more information about this project and the Big Screen Project, click here.

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ARTspace Media Lounge “Band of Outsiders”

The publication created for "Band of Outsiders" at the ARTspace Media Lounge at the CAA Conference. Feb. 10, 2011. (Image Credit: Tempestt Hazel)

If you have not had the chance to see the ARTspace Media Lounge, there several opportunities to.  This Jean Luc Godard inspired collaborative exhibition brings together artists, curators and more to create a special conference and city-wide multi-media installation in honor of the centennial College Arts Association Conference.

The College Arts Association presents

Band of Outsiders

Organized by Sabina Ott and Cindy Smith of the CAA Services to Artists Committee

ARTspace Media Lounge
7:30am-5pm Feb 10-12
Concourse F, Concourse Level
Hilton New York
1335 Avenue of the Americas
New York, NY 10010

The Center for Book Arts
February 1 – April 2
Weekdays: 10am – 6pm
Saturdays: 10am – 4pm
28 West 27th Street, 3rd Floor
New York, NY 10001

The Big Screen Project
Selections from Band Of Outsiders
Feb 9-12, 5-9pm
Public Plaza behind Eventi Hotel
6th Avenue b/w 29th and 30th
New York, NY

The following are some photos of the collaborative publication made in honor of the ARTspace Media Lounge and Band of Outsiders.

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Bridging the Gaps: MFA Candidate Leighann K. Wood

Image on the back of Leighann K. Wood's business card. February 9, 2011. (Photo Credit: Tempestt Hazel)

We all know about the sessions of the CAA Conference through the conference program–but what about the people filling the seats of the sessions? Who are they? In an effort to answer this question, I randomly asked welcoming faces sprinkled around the CAA to answer a few simple questions about themselves, what brings them to the conference and why they chose to pursue art history and scholarship. I will be conducting several of these interviews at random throughout the weekend.

Leighann K. Wood, Graduate Student of Library and Information Science, Information and Arts Consultant, Denver Colorado, First year attending CAA Conference

Tempestt Hazel: What brings you to the CAA Conference?

Leighann K. Wood: I did my undergraduate in Art History at West Michigan University. Then I moved out to Denver and I just started my Masters of Library and Information Management program at Emporia State University. I’m basically trying to incorporate the art world within more text-based institutions, bring more of that visual bridge into libraries and connecting those multi-cultural communities that don’t have the access that they need. For instance, a lot of museums have educational programs for kids but they leave those adults out. So, I’m trying to work towards that.

TH: What sessions and events are you excited about?

LW: Actually anything technology-based. I resisted that during my [time as an] undergrad.

TH: When you say technology-based, what do you mean exactly?

LW: Technology-based meaning blogs or wiki—even art databases. Especially in the art community, they think they need to know how to use it efficiently and not resist it because it’s here to stay.

TH: Finally, why art history? What is it that you love about art?

LW: Everything. I’m a visual learner so I think that the most appealing thing [about it] to me is the community that it brings together. I really want to transpose that into my own life but also bring it into my own community.

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In From Michigan: Ph.D. Candidates Katharine Raff & Pamela A.V. Stewart

University of Michigan Ph.D. Candidates Pamela A.V. Stewart & Katharine Raff at the CAA Conference. February 9, 2011. (Image Credit: Tempestt Hazel)

We all know about the sessions of the CAA Conference through the conference program–but what about the people filling the seats of the sessions? Who are they? In an effort to answer this question, I randomly asked welcoming faces sprinkled around the CAA to answer a few simple questions about themselves, what brings them to the conference and why they chose to pursue art history and scholarship. I will be conducting several of these interviews at random throughout the weekend.

Katharine Raff, Ph.D. Candidate in the Department of History of Art at University of Michigan and Fellow at Metropolitan Museum of Art, first year attending CAA Conference

Pamela A.V. Stewart, Ph.D. Candidate in the History of Art at University of Michigan, third year attending CAA Conference

Tempestt Hazel: What brings you to the CAA Conference and why do you think it is important to be here?

KR: For me, because I study ancient art there really aren’t as many sessions dealing with that, but my career path is to work in museums, so I’m here for more of the sessions dealing with issues concerning museums. And in general, what’s going on in the field at large. Sometimes you get so inside of your own discipline, it’s nice to know what else is going on with art and artists.

PS: [I came] for the exchange of ideas. There aren’t a lot of panels that are specifically in line with my interests but there are some fabulous papers that are coming up. It’s really good to keep up with what is going on in the field, who is giving papers, where their interests are and people who matter—having that dialogue and exchange.

TH: What sessions and events are you most excited about?

KR: The was the one this morning, Making Museums Matter, Art & Commerce: The Art Gallery In America—really dealing more with museums and with ancient Italian art. I’m excited to hear Lauren Hackworth Petersen for the Italian Art Society session [and her paper] Why Have There Been No Great Roman Artists? I really like her work and I’m excited to hear what she has to say.

PS: I saw the session [Are We Standing at a Digital Divide in Art Publishing?] this morning, which was pretty interesting. I’m about to go to—well, I’m split between Architecture, Space and Power in the Early Modern Ibero-American World and The Crisis in Art History. There’s also going to be a paper [presented] by one of my old mentors—Elizabeth ‘Buffy’ Easton. She is the most powerful curator in the world—that’s her superhero name that she gives herself. Buffy is all-powerful. [laughs]

TH: My final question is why art or why art history? What drew you to the field?

KR: Even as a child my parents always took me to museums and I started learning about things, why they were created, how they were used and how they function. A lot of what I do is social history oriented and there’s always been that wanting to know how things function and why—not just that it’s a painting on a wall. How was it really used? How did it function in its particular historical moment? I think that’s so important to understand. I think a lot of people, unless they study art history, they don’t always get that. They go to a museum and think, “Oh, that’s cool” but when they really start to study it they learn about the very complex background of what caused it to be created and how it functioned. So, that’s why [I chose] art history. I think it plays such an important role in the humanities. We need to push that.

PS: Art is how we see ourselves. This is the most basic kind of communication that we have. This is how we see the world, the image we construct of the world and the image we project onto the world. I think Michael Baxandall was right [when he spoke about] positing an artwork as a deposit of a social relationship—you can’t always get that from a text. An image is immediate, as Leonardo would say. That’s why painting is better than poetry! [laughs]

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